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-- What's the point / Who needs labels anymore?

What's the point / Who needs labels anymore?

In light of the Armada podcast drama, I've got a good question...

What's even the point of a record label anymore? Back in the day labels would print your vinyl or CD and distribute it to the stores, nowadays with everything being digital and websites like MySpace etc allowing artists to sell tracks from their own page, I really don't see how these labels are even needed.

Maybe it's good for an up-and-comer to be associated with a label but other than that, once you've made a name for yourself, just sell your own shit online.

Marketing comes to mind right away. Not to mention, labels are usually known for a specific sound or quality of track so it helps someone who is searching out a specific type of music by going straight to a label that they know produces the sound they are looking for.

Not to mention the people at the label will guide you down the right path to a better career in this industry. It also provides financial stability. If you get signed to a label and you need to produce x amount of tracks or albums you know you will be getting paid steadily through the term of your contract.

pretty much every artist today has their own label, publishing company and studio. they use their own publicist and manager, etc.

the labels are the ones who do the distribution, pay for the tour, and id assume take care of licensing and copyrighting with the US copyright office.

thats the assumption ive made after a few years of thinking about that topic. when I took my rap album to ultra Patrick told me he wants video of shows, another sick, better produced album, album sales reports, blah blah.

labels want you to be establsihed before they'll even fuck wit u. and why would ANY artist record an album on the labels dime when that means the label owns your masters. fuck that.

so like i said, im under the assumption that labels distribute, maybe run marketing and ad campaigns, and provide a legal team perhaps. and the funding of a tour is huge, especially if there's a band or group that's good enough to signed but doesnt have funds of their own.

i think

I've felt this every once in a while, but the rational side of my brain knows that it makes a huge difference to be part of a successful label. By successful, I mean one of the top 10 labels that know what they're doing and not the (my friend Joe Shmoe's digital) label.

I would find it harder to find support on my tracks if I sent a personal email to the DJs I know who usually play my stuff. When the email comes from Armada, or Flashover, the email is opened without second thought, and psychologically, the DJs are more inclined to think it's a "big hit".

A big part of the reason my music's been getting more popular is because of some great moves the labels have made through the years for me personally. My first song "Light At The End" was remixed by John O'Callaghan and Thomas Bronzwaer, and was subsequently pushed to the top of almost every trance DJ's Top 10 for that year. No one played the original. The label (Martin Roth's label) had the ear AND the connects to say, "Let's get John O'Callaghan on the remix," and made it happen. Try doing it on your own; even if you shell out the $2000 remix fee out of pocket, the artists in the scene will be hesitant to touch a song that's not signed.

The labels have marketing contacts everywhere, in such a way that no single person can have on their own. Youtube videos go up, samples get put on radio shows, interviews are setup, forum posts and news items get written, compilations are contacted, etc.

The majority of money I make is from the compilations my music is licensed on, and maybe 5% of it is from Beatport sales. Landing on the Top 10 in Beatport trance means maybe 50-75 people bought the song this month. It'd shock you how little money is to be made from this business, unless you really try hard at it for years.

quote:

Originally posted by The Vza pretty much every artist today has their own label, publishing company and studio. they use their own publicist and manager, etc. the labels are the ones who do the distribution, pay for the tour, and id assume take care of licensing and copyrighting with the US copyright office. thats the assumption ive made after a few years of thinking about that topic. when I took my rap album to ultra Patrick told me he wants video of shows, another sick, better produced album, album sales reports, blah blah. labels want you to be establsihed before they'll even fuck wit u. and why would ANY artist record an album on the labels dime when that means the label owns your masters. fuck that. so like i said, im under the assumption that labels distribute, maybe run marketing and ad campaigns, and provide a legal team perhaps. and the funding of a tour is huge, especially if there's a band or group that's good enough to signed but doesnt have funds of their own. i think

They do contribute to a lot of marketing, but they are hands-off in most other ways. Tours aren't really "paid for", they're setup by a completely unrelated agency or booking management. This varies from continent to continent.

I currently have a booking agent in Australia, an offer from a few in the UK, but none in the United States (out of my own choosing). They are all different agents and unrelated companies, and especially removed from the functions of the labels that my music is on. The labels are happier if I'm touring the world pushing my music, but have very little say in actually making that happen.

The best example is this: I was in Europe over the summer and Tiesto was playing in the town I was in. I emailed his European agent (who I know) for 2 guestlist spots, which he gave to me with no problem. After his new album came out, I asked him if I could remix one of the songs from it to see if Tijs liked it; he said that would be cool, but I'll forward it to his label and they'll handle that request. Tiesto played in Atlantic City last week, so I contacted the same agent to get some free passes; he said sure no problem, but he'd have to forward my request to his North American management (who never replied). If I wanted to get an interview, I'd probably have to not only contact his North American management, but his North American publicist agency!!

This is the perfect example of the multi-faceted world surrounding the DJ and producer, and I'm sure it's worse with pop and hip hop performers...

word. thanks for the knowledge man. i wish they taught that at school. Although, TA University is probably better. and don't worry, next time I see you I wont be like, "yooo ECO!!! drop knowledge on me!!!" lol. thanks though for real. that stuff you described is what im trying to do

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